Paradise: Love Vacations in Other People’s Misery

A big winner at last year’s SXSW, Gimme the Loot is a pocket-size Bronx indie with the wispiest of narrative ideas: A couple of teen graffiti bombers decide to gain fame by tagging the Mets’ Home Run Apple. Malcolm (Ty Hickson) and Sofia (Tashiana Washington) are mates only in spraying,…

In The Company You Keep, Robert Redford and Co. Face the ’60s in their 70s

Hava Nagila: The Movie Is Tirelessly Glib

56 Up Movie Review: Revealing Life in Stasis

The Double Steps (Los Pasos Dobles) Movie Review: Bedeviling and Blithe

Heleno Review: Defeated by Movie Formula

Wuthering Heights: Black Like Me

For Ellen Movie Review: Paul Dano Is Thoroughly Convincing

Solomon Kane Movie Review: Action Is Meticulously Humorless

Hara-Kiri: Death of a Samurai Movie Review: Takashi Miike’s Samurai Epic Might Be His Best Film Yet

China Heavyweight: Blandly Respectful and Apolitical

Arbitrage: Richard Gere Stars in This Intricate Fiscal Thriller

The Imposter: Queasy Mysteries of Frederic Bourdin

The Bourne Legacy Suffers From a Sense of Damonlessness

Headhunters at Miami Beach Cinematheque July 13

A Cat in Paris Didn’t Deserve an Oscar Nod

Headhunters at Tower Theater June 1-14

In Darkness, grueling but familiar, dramatizes another Holocaust horror

Airily disregarding the Hemingway Unadaptability Principle, this quaintly racy version of Papa’s most hated novel has a few bullets in its barrel: Dynasty scion Jack Huston, as the Hem avatar, is dull but physically a perfect fit; the Mediterranean tourist-porn is addictive; and the story, unique in this particular corpus,…

According to its publicity, bringing Robert Penn Warren’s 1946 novel All the King’s Men to the screen again has always been “a cherished dream” of executive producer James Carville — suggesting a lurking sense of payback frustration with the insubstantial legacy of the real populist Southerner whom Carville himself helped…

A number of pregnant mysteries arise with the new remake of Robin Hardy’s 1973 cult-remembered genre work — namely what’s in this kind of malarkey for gender combat provocateur Neil LaBute, and why was such a high-profile film tossed into theaters without letting critics see it first? The two simple…